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Age Coin's newest recording, 'Performance,' drenches industrial-infused techno in high definition details, divining a cracked bump & flex from the condensation of a joyride.

With a handful of tapes on Posh Isolation, as well as an album on Luke Younger's Alter, Kristian Emdal and Simon Formann have developed a project whose momentum and reputation has steadily escalated, finding common ground between electro-acoustic methods and quantised club nights. Both Emdal and Formann are best known as members of Lower (RIP), and both have since continued to devote themselves to a series of projects in the band's wake.

Emdal has lately pivoted his time around Marching Church, a band comprised of some of Copenhagen's finest, whilst Formann has been working under the guise of Yen Towers, releasing his debut 12" on Posh Isolation earlier this year. "Trespassing on intimate territory," says Emdal of their new recording, Age Coin "cuts a transparent path for everyone to come walking."

"The album is ultimately a joint effort to process past as well as present experiences within father son relations. In order to make things tangible, scenes are drawn from memory and merged in a shared fictional collage." 'Performance' thrillingly presents Emdal and Formann in a new cryptically lush aspect.

There is a sense that one is watching a slide show—familiarity motions like the tide in the form of acoustic instrumentation, and porous synthesized terrains are crossed with a feeling, not a map, nor a memory. As one watches, the creeping ambience comes to be less an invasive sensation and more of a gravitational pull through time itself. It's as effortless as it is disorientating, like being stalked by a relic. Propellants ascend in to the foreground from all directions.

Rhythmic NO2 afterglow comes in waves in reverse. Weightlessness is induced; and rebound. "Take in the view or let yourself be part of the language. Let the engine run and dip in to the swampy collective intelligence. ‘Performance’ is a hybrid memorial for all domestic actions committed in the name of love."

"Body Sculptures is a contemporary project that brings together five unique voices in European experimental electronic music today. The formative element is the collaborative pact between Sweden's Northern Electronics and Denmark's Posh Isolation. Last year marked both Body Sculptures' debut live performance —a highly notorious set at Berlin Atonal Festival 2015— as well as their debut recording, The Base Of All Beauty Is The Body.

The disparate elements that have come to inform the project thus far are further refined and encoded in their new LP, A Body Turns To Eden. The aesthetic singularity of the project is owed to the distinguished backgrounds of the five contributing artists. Each perspective entails a varying set of working methods and sonic preferences, though it is the sensitivity with which the diversity of these practices are framed in Body Sculptures that assures the project its own space. Infamous for his caustic, pneumatic techno under the moniker of Varg, Jonas Rönnberg is the co-owner of Northern Electronics and is involved in the projects Ulwhednar (with Abdulla Rashim) and Dard Å Ranj Från Det Hebbershålska Samfundet.

Erik Enocksson is a highly regarded Swedish composer who has scored countless independent productions. His orphaned soundtrack to the film Apan, remastered and reissued by Posh Isolation last year, was widely and favourable received. Frederikke Hoffmeier's industrial and experimental project Puce Mary has been the subject of much veneration in recent years.

The frenziedcorrosiveness of both her recordings and live shows are increasingly charting the limits of intimacy. Ossian Ohlsson is from the industrial outfit Vit Fana, and has appeared across a number of compilations spanning both Northern Electronics and Posh Isolation.

Loke Rahbek is the co-founder of Posh Isolation. As a member of Damien Dubrovnik and Lust For Youth, as well as under the moniker of Croatian Amor, he has developed a reputation for engulfing performances and compositions.

The combinations of acoustic and electronic instrumentation, the soiled traces of genre, and the mixed modes of experimentation, are here pitched as an eternal requiem, letting the play between the project's orthodox and unorthodox methods reflect a sharp fatalism.

Each song presents familiarity and intimacy within an aura of claustrophobia. And as if out of a cruel awareness of this fact, unease blooms into a comforting form. A body turns to Eden as a conscience turns to an ideal confessor, A body rolls from a pyre / a conscience longs for a blasé saint."

Tracklisting:1. Breath of Wind Sows the Seed 2. A Body Turns To Eden 3. Feet Into Soil 4. On the flowers Face 5. The Pyre 6. Turning Field 7. Turning Field ll Sunflower 8. Scorched Earth 9. A Collection of Ceramic Vases (Yves Saint Laurent buried in the Garden of his Marrakesh home)

Boli Group is a new ensemble spearheaded by Copenhagen based composer and producer Asger Hartvig. Responsible for some of the most fearless and intriguing works to come from the city in recent years, Hartvig is as imposing as he is mysterious, and his debut release for Posh Isolation makes no concessions.

Hartvig is perhaps best known for his work with the group Synd Og Skam. And though less known, Brynje 1&2 is just as exceptional. Taking both technology and classicism as allegories, each group charts routes in and out of pop music, somehow arriving at an observer's distance to the distinct stylistic choices in the process.

The label Visage has published the best of this, and the logic has certainly been carried into 'Boli Group LP,' the latest offering from Hartvig and his distinguished ensemble of Nina Cristante, Holger Hartvig, Thea Thorborg, and Cæcilie Trier.

There is a nearly unendurable fragility to 'Boli Group LP.' It's as if Hartvig has let the complexities of his themes stand in mourning; his narrator taking a moment to themselves behind sunglasses, exhausted for the rose-tinted lens of the prepared script.

The album is willingly dramatic, though it never plateaus into melancholia. Hartvig pirouettes at the edge with the sorrowful string arrangements and the pristine timbre of the piano, the immediacy of the acoustics always binding the listener tightly to the risk. Pastoral and meditative, the electronics don't tamper with the delicate fabric being woven. They always register as supportive and understated. The synthetic hum, occasionally yielding a doleful melody as it does, manages to imbue a naiveté to this contemporary and subtly idiosyncratic chamber music. Though the track titles lead us on, in time the examination the album provokes is that of the tension in transparency.

The album's secret, barely kept through the minimalism, is its distinct folk noir quality in holding it. "boli group creating new chamber folklore embracing the playing of instruments, not the played, but that which is playing for the sake of future focus and edit into the very minerals of instrument, intuition, emotion, fragility underlying, the warning, always pulsating acts of drama, wet leaves, asphalt, pan to right, agriculture and electricity poles a container ship, lonely in horizon hoping for a clear thought, but everything existing as conspiracy the sound of a search, uncertain and always asking, for certainty is false, showing sceneries changing permanently and forever narrating, like a panorama of grey clouds, keeping humidity levels high, heating up before the release of water and lightning investigation for folk instruments.

What are their songs and where will they go, over time, woven together like a piece of fabric created to stand against the lethal winds”

Finding People' is the newest recording from Croatian Amor, the morphing alias of Loke Rahbek.

With last year's Croatian Amor album, 'Love Means Taking Action,' we witnessed a transformation in the project, its wide-eyed gaze having stared deep into the news feed, reengineering its heartstrings. 'Finding People' takes this even further.An assembly of choral traces and transmissions, these four new tracks are the project's clearest move towards pop.

At the same time, this is perhaps the weirdest record yet from Croatian Amor, introducing a complexity that we have not previously seen. From the cut-up, granulated rhythm section and auto-tuned choir of the opener 'Sky Walkers', to the duetting ballad of 'Finding People'—featuring additional vocals from new name Khalil—the record never rests for long.

The exploration is soothing, its search a tonic to the swarm of emotion it provokes.And while the four tracks on Finding People barely reach 20 minutes it still manages to present the sharpest vision of the project so far. Though filtered through cascading app windows, the amorous scenery at the project's core has not changed since its inception, even if there is a lot more green screen in the sequel.